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- All Subjects: Clarinet and piano music
Description
In the 1930s, with the rise of Nazism, many artists in Europe had to flee their homelands and sought refuge in the United States. Austrian composer Hanns Eisler who had risen to prominence as a significant composer during the Weimar era was among them. A Jew, an ardent Marxist and composer devoted to musical modernism, he had established himself as a writer of film music and Kampflieder, fighting songs, for the European workers' movement. After two visits of the United States in the mid-1930s, Eisler settled in America where he spent a decade (1938-1948), composed a considerable number of musical works, including important film scores, instrumental music and songs, and, in collaboration with Theodor W. Adorno, penned the influential treatise Composing for the Films. Yet despite his substantial contributions to American culture American scholarship on Eisler has remained sparse, perhaps due to his reputation as the "Karl Marx in Music." In this study I examine Eisler's American exile and argue that Eisler, through his roles as a musician and a teacher, actively sought to enrich American culture. I will present background for his exile years, a detailed overview of his American career as well as analyses and close readings of several of his American works, including three of his American film scores, Pete Roleum and His Cousins (1939), Hangmen Also Die (1943), and None But the Lonely Heart (1944), and the String Quartet (1940), Third Piano Sonata (1943), Woodbury Liederbüchlein (1941), and Hollywood Songbook (1942-7). This thesis builds upon unpublished correspondence and documents available only in special collections at the University of Southern California (USC), as well as film scores in archives at USC and the University of California, Los Angeles. It also draws on Eisler studies by such European scholars as Albrecht Betz, Jürgen Schebera, and Horst Weber, as well as on research of film music scholars Sally Bick and Claudia Gorbman. As there is little written on the particulars of Eisler's American years, this thesis presents new facts and new perspectives and aims at a better understanding of the artistic achievements of this composer.
ContributorsBoyd, Caleb (Author) / Feisst, Sabine (Thesis advisor) / Levy, Benjamin (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture.
ContributorsFerreira, Wesley (Contributor) / Spring, Robert S (Thesis advisor) / Bailey, Wayne (Committee member) / Gardner, Joshua (Committee member) / Hill, Gary (Committee member) / Schuring, Martin (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
In the countries of Eastern Europe, the recent history of the communist regimes creates a context rich in various and often times contradictory remembering practices. While normative discourses of memory enacted in official forms of memory such as museums, memorials, monuments, or commemorative rituals attempt to castigate the communism in definite terms, remembering practices enacted in everyday life are more ambiguous and more tolerant of various interpretations of the communist past. This study offers a case study of the ways in which people remember communism in everyday life in Romania. While various inquiries into Eastern Europe's and also Romania's official and intentional forms of memorializing communism abound, few works address remembering practices in their entanglements with everyday life. From a methodological point of view, this study integrates a grounded methodology approach with a rhetorical sensitivity to explore the discourses, objects, events, and practices of remembering communism in Bucharest, the capital city of Romania. In doing so, this inquiry attends not only to the aspects of the present that animate the remembering of communism, but also and more specifically to the set of practices by which the remembering process is performed. The qualitative analysis revealed a number of conceptual categories that clustered around three major themes that describe the entanglements of remembering activities with everyday life. Relating the present to the past, sustaining the past in the present, and pursuing the communist past constitute the ways in which people in Romania live their relationships with the communist past in a way that reveals the complex interplay between private and public forms of memory, but also between the political, social, and cultural aspects of the remembering process. These themes also facilitate a holistic understanding of the rhetorical environment of remembering communism in Romania.
ContributorsPaulesc, Marie-Louise (Author) / de la Garza, Sarah Amira (Thesis advisor) / Brouwer, Dan (Thesis advisor) / Gereboff, Joel (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsBurton, Charlotte (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-08
Description
Throughout the history of Western art music, political and religious institutions have exerted powerful influence through their patronage and censorship. This is especially relevant to the organ, an elaborate and expensive instrument which has always depended on institutional support. The fascinating story of Polish organ culture, which has existed since the Middle Ages, reflects the dramatic changes in Polish politics throughout the centuries. An understanding of this country's history helps to construct a comprehensive view of how politics influenced the developments in organ building and organ playing. This paper describes the dynamics of the Church, government and art institutions in Poland during the years 1945-2012. A brief summary of the history of Polish organ culture sets the stage for the changes occurring after WWII. The constant struggle between the Church and the communist regime affected music making and organ culture in Poland from 1945-1989. The political détente that occurred after 1989 led to a flowering of new instruments, restorations and performance opportunities for organists. By exploring the relationship between Polish organ culture and prevailing agendas in the 20th century, the author demonstrates how a centuries-old tradition adapted to survive political and economic hardships.
ContributorsKubiaczyk-Adler, Ilona (Author) / Marshall, Kimberly (Thesis advisor) / Micklich, Albie (Committee member) / Rockmaker, Jody (Committee member) / Rogers, Rodney (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsDruesedow, Elizabeth (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
When communist leader Ceaușescu was overthrown in the Romanian revolution of 1989, Romania reinstated reproductive freedoms that had been denied under communist policy. This study looks at reproductive health in Romania in 2013, examining the progress in reproductive healthcare made since 1989 while looking at lingering barriers to resources and education. Thirty-five pharmacists were surveyed to collect information on pricing and accessibility of contraceptives in pharmacies. In addition, interviews were conducted with the director of Societatea de Educatie Contraceptiva si Sexuala (SECS), a reproductive clinic healthcare provider, a professor of philosophy and feminism at Babeș-Bolyai University, and four young Romanian women.
ContributorsZack, Lauren (Author) / Katsulis, Yasmina (Thesis director) / Orlich, Ileana (Committee member) / Barrett, The Honors College (Contributor) / School of Social Transformation (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor) / College of Public Programs (Contributor) / Sandra Day O'Connor College of Law (Contributor)
Created2014-05
Description
This project includes a recording and performance guide for three newly commissioned pieces for the clarinet. The first piece, shimmer, was written by Grant Jahn and is for B-flat clarinet and electronics. The second piece, Paragon, is for B-flat clarinet and piano and was composed by Dr. Theresa Martin. The third and final piece, Duality in the Eye of a Bovine, was written by Kurt Mehlenbacher and is for B-flat clarinet, bass clarinet, and piano. In addition to the performance guide, this document also includes background information and program notes for the compositions, as well as composer biographical information, a list of other works featuring the clarinet by each composer, and transcripts of composer and performer interviews. This document is accompanied by a recording of the three pieces.
ContributorsPoupard, Caitlin Marie (Author) / Spring, Robert (Thesis advisor) / Gardner, Joshua (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
Description
The primary objective of this research project is to expand the clarinet repertoire with the addition of four new pieces. Each of these new pieces use contemporary clarinet techniques, including electronics, prerecorded sounds, multiphonics, circular breathing, multiple articulation, demi-clarinet, and the clari-flute. The repertoire composed includes Grant Jahn’s Duo for Two Clarinets, Reggie Berg’s Funkalicious for Clarinet and Piano, Rusty Banks’ Star Juice for Clarinet and Fixed Media, and Chris Malloy’s A Celestial Breath for Clarinet and Electronics. In addition to the musical commissions, this project also includes interviews with the composers indicating how they wrote these works and what their influences were, along with any information pertinent to the performer, professional recordings of each piece, as well as performance notes and suggestions.
ContributorsCase-Ruchala, Celeste Ann (Contributor) / Gardner, Joshua (Thesis advisor) / Spring, Robert (Thesis advisor) / Hill, Gary (Committee member) / Rogers, Rodney (Committee member) / Schuring, Martin (Committee member) / Arizona State University (Publisher)
Created2016
ContributorsClements, Katrina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-15